Hey everyone. I shove off for SxSW in a few hours and figured I’d post a new podcast before I shuttered the site for the week. Well. Kind of shuttered. I’m sure there will be scattered updates from Austin but they’ll be sporadic and of questionable lucidity. If you’re interested you can follow me on Twitter and/or Facebook where I am sure there will be no shortage of updates, hijinks and pictures for use as evidence. But enough about me and my travels…let’s talk about the podcast.
All in all, I think I’ve done a pretty good job putting together an hour of quality listening for all the CxCW kids out there. As always, if you enjoy the show please share it with your Facebook and Twitter buddies. If you really enjoy the show, let me know…it’s always nice to get some feedback.
Justin Otto – Sun [00.00.00]
Jason Isbell – Alabama Pines [00.03.15]
Ha Ha Tonka – Made Example Of [00.07.05]
Slim Cessna’s Auto Club – Three Bloodhounds Two Shepherds One Fila Brasileiro [00.11.15]
Otis Gibbs – Kansas City [00.17.17]
Possessed By Paul James – Shoulda’ Known Better [00.20.56]
Scott H. Biram – Long Fingernail [00.24.30]
James Leg – Drinking Too Much [00.30.20]
Buffalo Gospel – Sunday’s Never Smile Anymore [00.34.02]
Virgil and Co. released their latest mixtape earlier this week. This volume was inspired by the upcoming release of the NEW I Can Lick Any Sonofabitch In The House album, The Sounds Of Dying. This album (hopefully) marks the triumphant return of ICLASOB as a band after a couple of years on hiatus. The album was officially released for preorder today and if you preorder it you get an immediate mp3 download of the complete album. Trust me, I’ve had the album for a few months now….it’s fucking fantastic and you should stop reading this post right now, open a new tab and buy it. Regrets, you’ll have none. Anyhow, the compilation features selected tracks from the Suburban Home roster, including a new demo from one Mr. Austin Lucas. They also accepted submissions from outside sources for this album which accounts for seven of the tracks.
The album is available for free and legal download here. The folks over at SH only ask that if you download it you send the link to 4 of your friends (or tweet about it or spread the word in some manner) which I think is a fair trade off.
If you want to print them out the covers are available here: Cover / Back
I Can Lick Any Sonofabitch In the House – Swear To God
I Can Lick Any Sonofabitch In the House – Postcards And Apologies (Two Cow Garage)
This might be a little off the farm for some of ya’ but here is an album from an ol’ boy I saw quite by accident and ended up hangin’ with (read: got way too wasted with) all night…
I was headed out to see Jason Boland at The Firehouse for the umpteenth time and left too early or didn’t stop and eat so I got there before the opening act had even started. You see I usually skip the opening acts for most bands I go see and that may be kind of shitty it’s just how I’ve done it for years. Anyway… The opening act, some dude named Jackson Taylor, starts up and much to my surprise the music was quite good. I meandered over near the stage there was this old boy wearin’ a Social D t-shirt, covered in tats belting out country music. One thing led to another and instead of seeing the band I came to see I ended up hanging out with the opener all night. There’s a story there that doesn’t warrant telling here but you can rest assured I had a grand ol’ time.
That said I have to admit this isn’t my favorite Jackson Taylor album. I mean he’s a bad son of a bitch (I was at a show he was late to because he had to bailed out of jail for a bar fight the night before) but it seems sort of forced in places on this album. The music is more polished than his early stuff and that could play into why I am not as into as his other albums. So why write about it? Well that’s because as much as it’s not my favorite JT album it’s still a damn site better than most of the tripe passing as country music these days and there are some real gems on it as well. I have a feeling even the songs that aren’t that great on this offering will be pretty damn good live because that’s just how Jackson is.
The two Social D covers, Ball & Chain and Highway 101, may be my fourth and fifth favorite covers this year (#1 Micah Schnabel – Can’t Hardly Wait, #2 Michael Dean Damron – Beautiful and Damned, #3 Chad Price – Hybrid Moments) and the new recording of Jackson’s own classic Barefeet on the Dash make this one worth picking up. At first listen the music may sound like standard Country & Western to some the lyrics and attitude is where Jackson makes his stand. He follows in the outlaw tradition of Waylon, Willie, Ray Wylie and Billy Joe in writing music that Nashville won’t touch with a ten foot pole as well as touching on topics that are generally forbidden in the radio safe sounds drifting out of Music City. Jackson is most assuredly a Texas boy, born and bred, and that shows through when he plays and in his overall approach to life.
Aces ‘n Eights ain’t gonna make album of the year for me but it ain’t getting deleted off my iPod either. It’s a good listen and I may be too harsh a critic. Pick it up and decide for yourself.
This is Michael’s third album w/o his former Portland, Oregon bandmates, I Can Lick Any Sonofabitch In The House. His first cd, A Perfect Day For A Funeral, was a toned down exceptionally personal affair, while his second, Bad Days Ahead, was more of a midway point between ICLASOB and A Perfect Day For A Funeral. The two left me wondering where Michael was gonna go with his solo career.
Lucky for me the answer was a descent back to the calmer, quieter, more introspective, personal version of Michael Dean Damron, and the result is a total home run. The problems with the equalization/mix that seemed to plague Bad Days Ahead are gone and the biting songwriting is back, giving us a beautiful blend of country, folk, blues, and rock music that highlights the more emotional side of Damron.
Among the 14 tracks there is a cover of 9b faves, Drag the River. A cover of the Thin Lizzy track “Dancing In The Moon Light” (also oft covered by Drag the River) is here, too, as well as Damron’s take on the Townes Van Zandt track “Waiting To Die”. Despite the well-rounded selection of covers, the real standouts on the album are Michael’s originals. Whether is be the sentimental title track “Fathers Day” or the get fucked attitude of “Boy With A Car”, Michael always seems to shine when he is blazing his own path. While some people seem to pine for the bombastic Southern-rock sounds of Mike’s former band, I find the solo Michael Dean Damron sound to be Essential Listening.